Friday, December 19, 2014

Pleasure Two

I don't know what the best quote of the night was. It could have been Marc's:

"So. You named the band without talking to any of us first?"

Or it could have been Mike Kessell's:

"It's like being in a band will all next-level stuff and great musicians but they give you a Rockband controller to play instead of drums."

Either way, even though both were at my expense I am still amused.

Marc played his 4-string. I was on the Les Paul. Mike was on the Rock Band controller Yamaha electronic kit.
Marc also had this brilliant idea of playing this huge and dirgy version of The Sound of Silence. My playing on this is simply terrible but it's interesting how much Simon and Garfunkel end up sounding like Neil Young just by adding some distorted guitar.
In order to get us away from that whole "guitar panned to center, bass panned to center" thing I did a little panning with a send going to a reverb that's on the other side. With bass I went for some different sounds including sending to an amp simulator which was mixed back in (sometimes panning it, sometimes not) just to widen things out a bit.
I'm worried about running out of Guillaume Seignac paintings. I really wish I knew more about this model, she's in a bunch of his work and she's always very interesting.
There is a lot a lot a lot of compression on these tracks. Like too much. I have LA-2A emulations and then heavy limiters and multiband limiters and... well you get the idea. Too much. But I wanted everything to be very loud.
We're still working on our musical vocabulary. That said we seem to have an instant vocabulary. Yeah, I keep yelling "play more fills" toward the percussion section, but a very melodic bass with my guitar style works quite well. Our vocabulary... it seems to involve playing 9ths somehow. It also involves me not having the foggiest idea of what I'm doing. So there's that.
I also like how 35 Million Miles From Earth ends up being a suite. And The Dance of the Turquoise Mouse ended up pretty good, especially seeing how it was just a last-minute thing which we play after it got kinda late and we didn't want to be too noisy.
Gwendolyn Wormsign is perhaps my favorite because of the way the the bass goes 100% counterpoint to my riff. Which leads into that very trollopy melody toward the end. I feel that should be the music on some very hip talk show. 

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