Tring on the brumpets

So many permutations...

How it is inputted. How it is processed. How it is outputted.
Partly a learning curve, partly a rediscovery of methods I was using 20 years ago.

It's an incredibly complex thing, because each of the elements I've noted above contain many elements, each of which has inherent pros and cons. I work best by trial and error, but with a developing rationale behind the trials I choose to make.

So by looking at how Wave Studio interacts with the audio record/playback settings built into Windows XP, I've worked out how to play one thing, then record both it and something new onto a new audio file. It's multitracking, but it's cumulative rather than parallel, if you see what I mean. I've tended to create samples, then put them together into some kind of sonic jigsaw in the past, and results tend to be quite metronomic. This though is more fluid. It doesn't destroy the natural nuance and subtle varience that add warmth and humanity to what we hear. And the source becomes irrelevant. I can just as easily incorporate the midi guitar or a microphone or a keyboard or drum machine into this method.

In all this, I've tried to base what I do on one set of chords. The root/key is Eminor, and I'm using as a very loose template, Kula Shaker's song, "Ophelia".

Below is my first attempt using this method, warts and all. Electric guitar through ME5 on setting 1-1-1, my favourite combination of phaser/delay. Then another layer superimposed using the same kit with the same settings.

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