I had hoped to post this on Friday, Saturday, or Sunday, but it has been a busy time. The good news is that I got more work done than I had expected to. I mixed and incorporated the string quartet recordings for eight of the nine movements. Some of the movements had multiple usable takes, so in some instances I chose to double (or even in 1 instance, triple) track the string quartet recordings to thicken things up a bit. Ultimately, I was able to add string quartet recordings to TriStar, A300, DC-8, 727, 707, DC-10, DC-9, and 747.
This will be a busy week for me as I am in tech week for a production of A Wrinkle in Time up in Andover. That being said, I expect to be able to complete the final string quartet mix, and to be able to get started recording some electric cello, which will put me a bit ahead of schedule. Since I have little to share this week, I’ll share a bit more about my next album project that I unveiled last week.
My plan is to have the album consist of 18 tracks, which should make a good middle ground between ME7ROPOL17AN 7RANSPOR7A71ON AU74R17Y‘s lots of short tracks approach, and Rotate‘s a few long tracks approach. As is the case with Rotate, the drum machine and synth parts will be generated by algorithms written in PureData. However, there will be three different broad models for these algorithms, so that this forthcoming album will feature more variety. The plan is to record the backing tracks to 6 of the movements during the summer of 2024, another 6 (using different algorithms) during the following summer, and a final 6 movements (using a third set of algorithms) during the summer of 2026.
Since I’ve released the recording of TriStar featuring the string quartet recording, I’ll re-share the score for the quartet for those who want to follow along . . .
