Lightniplosionz!

Weird, man. Insane bursts of blue and green lightning like explosions in the sky all night and big winds had the power surging on and off (and all points between) throughout the night. The power conditioners kept thing moderately civil, but sessions were interrupted by several outages over the day.

When electricity was available, we worked on guitars, bass effects, and keys for Shooting An Elephant and Activate Your Cancelled Check.

Patrick's guitars were Jazzmaster + AC30 and Sound City 100mkIII. SM7b + Phoenix DRS and Audix I5 + UA 2108 on the AC30, MD421 + UA 2108 on the Sound City. AC30 for cleaner tones, Sound City for the fuzz. Can't begin to keep track of Patrick's pedals. Carlos' guitars were his brown turd special into the AC30, all low end carved out, mic'd with the EV 642 + DRS w/ boost and compressor pedals. Tom's basses were reamped from the V71 direct tracks into his Mesa head+4x10 and mic'd with MD421 + UA 2108 + Sta-Level taking just a couple db off. His effects... are classified. Keyboards today were the Bass Station x2 on Elephant's build section direct into UA 2108 and the Nord Electro into the Mercury M76m.

The guitars get pretty heavily layered so I'm generally carving out a low of low mids wherever I can, leaving usually just one track with much low end. What with the bass, keys, and all that it just gets too crowded.

Started tracking bass for We Can Build You, which is mostly chorded, but even tracking the bass through the AC30 we weren't getting enough clarity. Solution? We're getting a baritone guitar, which I think will be perfect for the chording while the Bass Station holds a constant low end (ducked by the chording baritone when it enters.)