Of late, I have been spending time working at my home. Or, more accurately, the rudimentary recording studio/office space I am trying to turn it into.
I have acquired some... crude paraphernalia to allow me to develop this humble abode into a de facto, barebones production hub. After the expropriation of some very, very expensive, very, very rare equipment, I arrived at a decision that could only be resolved in two ways.
I could spend time uselessly lamenting my missing pieces, lambasting those responsible, and laying waste to myself.
Alternatively, I could interpret it as a fresh start. A clean slate. A sort of conscription to that new, minimalist lifestyle trend that's no longer new, nor particularly trendy.
So I am piecing together what I can from what I have left, and building anew.
I have taken the opportunity to obligate better, learned men than myself on the most effective routes forward.
I have always left the nitty gritty and minutiae to more capable hands, concerning myself with more primitive means of expression,
Acquainting myself with a new Digital Audio Workstation, some new hardware, and an unfamiliar instrument (I am finding brave new ways to put some spook on things) has been a challenge, but I will endeavour to document it on this platform, so that I might refer to it when I predictably forget everything I've learned the moment I lay my head down to sleep.
Things like Reaper, Ableton Live, and even the most simple of synths, or even the use of a basic rhythm machine have forever seemed beyond these clumsy, primal paws. My 7ARDOOM brethren, Kathal Larkin, has been guiding me through the finer points of all of this terrifying, unfamiliar technology I find myself festooned with.
When it comes to the physical side of engineering, and indeed, even information as simple as exactly what bits and pieces I might need to make even basic demonstrations, I too am stumbling blindly in the dark. My long-suffering brother in Gloom, FionntĂĄn Mac CĂĄba, has been lending me his technical knowhow, as well as half of my current guitar effects collection.
I am devastatingly close to realizing a live/recording synthesizer setup, something I've been toying with the idea of for just shy of a year at the time of writing.
Having admired groups like No Spill Blood, Neurosis and Battles, as well as composers like Jon Hopkins, Nils Frahm and Yosi Horikawa, the possibilities of seeing how I can make strange, sad sounds with almost infinite textural complexity is giddying. It might not exactly be a Moog One, but it will be more than enough to serve the work I have been doing for Two Heavens.
Progress, however incremental, is yet progress.
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