This one was a challenge: after listening to Sean Costello's talk last year at Seattle AES, I felt compelled to include something that used one of his plugins, but wouldn't it also be cool to work up a modulated delay network in Max For Live? It would. I didn't end up getting to the modulation part, but I did manage to get a delay network going, roughly equivalent to two separate channels of the kind of delay network the late Keith Barr used in his Alesis Quadraverb.
It's an interesting learning process: I've crashed Live and Max (and, I guess, Max For Live) several times, particularly this afternoon while I was trying to finalize automation. (Turns out that using too much of it is inadvisable.) But reducing the amount of it helped me get to mixdown.
With all this Max stuff going on, the rest of the piece is...maybe less interesting melodically, harmonically, and rhythmically. I have a drum rack of hot MPC single hits for the drums and a couple Impulse instruments for hand claps, hand drum, and 808. These went into varying (often automated) sends to the Freq Echo and to a Filter Delay. I also had a bunch of Electric channels for the piano--the ambient-ish melody, the bass, a chordal part. There's one channel of Operator for organ, and one Max For Live instrument (Multi) for that burbly tremolo thing that appears in places.
Sends: Valhalla Freq Echo, Convolution Reverb, Filter Delay, my work-in-progress delay network plugin.
Inline: Everything got a bunch of Auto-Pan. MPC kit got Auto-Filter to roll off the lows and make things a bit crunchier. All three Electric piano channels got Saturator on the Hot Tubes preset, and everything except the Operator and Multi channels got varying degrees of M4L Humanizer--a bit wide, so there's a kind of late-sloppy feel here.
Title from the delay network and the fact that this is a slooooow piece. Hoping to add random modulation to the delay network this coming week.
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