This is my new recording that I did earlier tonight, and it's really loud, fuzzy drone track with my guitar tuned to DADAAD.
I record with my iPhone's built-in mic, nothing else. Signal path is guitar>Corned Beef>Cool Cat Fuzz>Hardwire Reverb>amp
I make noise/drone/shoegaze sounds EDIT: theres more
Moderated By: mods
I make noise/drone/shoegaze sounds EDIT: theres more
Last edited by luciguci on Thu Jan 16, 2014 8:59 am, edited 2 times in total.
Doog wrote:Tone is stored in the balls
theshadowofseattle wrote:That's why there's two: one for pee, one for tone.
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mastermorya
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- Location: United States
Love teh dronez, thanks a bunch for sharing.
I listened when you first posted, but didn't post right away my thoughts. If I may get all snobby and smug producey about the track, I think it would be even more crazy awesome if there was some kind of stereo split going on (like running it through a lightly modulated reverb on an RV-7, to your DAW's L/R stereo input) to give the noise a much wider spread, or if you set up the first track with a "time chart" you could lay down another of similar/matching contour and progressively create the depth manually.
On a related note, when Cindi and I did our The Sons of Levi track a few years ago we decided to keep the tonic (D) with the bass and main fuzz drone (double tracked, panned 9:00 and 3:00), then dumped long delay strumming/feedback and other harmonic content a la orchestra stuff on top of that. Kinda monotonous and boring, but the immovable D bass did have a "grounding" effect. We had to pick the key of D because the "Levite" of the mix (our friend Joey Levenson) initially gave us a warbling thing for us to work around (heard by itself at the end of the track) in the key of D that runs through the entire track.
I listened when you first posted, but didn't post right away my thoughts. If I may get all snobby and smug producey about the track, I think it would be even more crazy awesome if there was some kind of stereo split going on (like running it through a lightly modulated reverb on an RV-7, to your DAW's L/R stereo input) to give the noise a much wider spread, or if you set up the first track with a "time chart" you could lay down another of similar/matching contour and progressively create the depth manually.
On a related note, when Cindi and I did our The Sons of Levi track a few years ago we decided to keep the tonic (D) with the bass and main fuzz drone (double tracked, panned 9:00 and 3:00), then dumped long delay strumming/feedback and other harmonic content a la orchestra stuff on top of that. Kinda monotonous and boring, but the immovable D bass did have a "grounding" effect. We had to pick the key of D because the "Levite" of the mix (our friend Joey Levenson) initially gave us a warbling thing for us to work around (heard by itself at the end of the track) in the key of D that runs through the entire track.
See, if I had proper recording gear, I would have done something like that. Alas, I was limited to my phone and three pedals. I might record another take in a friend's studio, though. Thanks for the listen and the ideas!
Doog wrote:Tone is stored in the balls
theshadowofseattle wrote:That's why there's two: one for pee, one for tone.
(she/they)daftsupernova wrote:See, if I had proper recording gear, I would have done something like that. Alas, I was limited to my phone and three pedals. I might record another take in a friend's studio, though. Thanks for the listen and the ideas!
Aye!
Still quite a feat working with what you've got, I myself couldn't imagine getting anything better from a phone's microphone! I reckon a simple stereo audio interface like GuitarJack (and something like the FourTrack app) would make a world of difference for future stuff, but that's stating the obvious. Keep up the good work, would like to hear stuff you do down the road.
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MiguelWood
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- Joined: Sat Oct 05, 2013 12:11 am
- Location: Orlando, FL
