Album (Slow Concussion)

An album I recorded at the college. Using incredibly out of the box and experimental recording techniques to capture more the acoustic sound of the room than a direct signal in order to keep the sound dry and punchy, yet giving it all a single acoustic space. I am incredibly proud of it.

Angel (Intro)

This was the intro track to the album. Half is recorded through a pair of Marshall 4x12 amp Cabinets, volume cranked in order for it to clip into the CM47 tube microphone in between the 2 cabs, allowing for an overdriven clean tone, post cabinet, pre-mixer. The primary effects are multi-delays, a sweeping whammy octaver, and heavy chorusing and stereo tremolo.

Dream

This Track I wanted to see if I could bring out a hollow, haunting sound from the guitar cabinets, whilst still retaining a thick, overbearing guitar tone. Even more overbearing is the bass tone, as I was aiming to make it have an almost physical presence in any setting, through even the tinniest of speakers. To contrast the incredibly fuzzy and overdriven characteristics of the guitars and bass on this album, the vocals are completely unprocessed besides basic EQ and Compression. No reverbs, no Chorusing, nothing. Simply 6 consistent takes. Although, in retrospect, maybe the bass could've been lowered a touch. And finally: The drums. Definitely one of the most labour-intensive parts of this one-man project was recording my own kick and snare sample, then programming and mixing it, while finding digital samples that fit the rest of the kit. I am quite proud of my work, even if the drum programming is robotic, it does not suffer from the ever-pervasive "three handed" problem.

I Wish

This track was recorded with a multitude of distortion-stacking techniques on the guitar, as well as octave effects in order to get the usually low and muddy tones of the more ambient microphone techniques to create a still treble-heavy and in-your-face tone. Drums take a step back even further into the room on this song as the guitar and pedal-point bass-line take full centre stage, although I am still incredibly happy with how snappy and resonant my snare sample came through!

Sway (Interlude)

This track was an exercise in achieving two things : Magnitude and Motion. The guitar pulsing from the sides with overdriven fuzzy walls of tone, resonating within the cavities of my skull and ear canal, as a screeching secondary guitar swoops over the rest like a banshee. Again, emphasizing heavily on giving the sound a physical presence to the listener, on any system, at many volumes. Much intricate panning during the mixing stage, all automated live. Very glad with this one indeed! I am incredibly pleased with the amount of lows I was able to extract from this wall of sound (although needing extreme measures of on-board EQ)