8.00 am: A communion. 8.45 am: Studiology. On Saturday, I completed the compositional structure of ‘Beth & Bill’. It remained for me to equalise the component parts and the whole before disassembling them in readiness for the performance. The vinyl – which will contribute to the cadenza section – was finalised with the addition of liquid cement nodes.
On, then, with subtle re-equalisation and volume adjustment throughout the composition. The aggregate of many small changes can lever a significant improvement overall. 11.00 am: A draft mix was created; this would be tested on a variety of monitors and sound systems over the next few days. For now, my ears were weary of listening. At this juncture, I’m in danger of making adjustments that may have an either a nil or a deleterious effect.
On, then, to configure a new sampler pad with one of the MacBooks. If this proves serviceable, I’ll deploy the device at the performance. A veritable cubist Christmas tree.
The composition needed to be mapped for the purposes of explanation in the context of the lecture. The exercise can be instructive: patterns and progressions that are native to the sound structure may, when made visible, disclose a logic and connectivity that wasn’t evident in the process of composition.
I began orientating myself to the new version of Ableton Live Lite, on the MacBook, and the Novation Launchpad, on the iPad and iPhone. Either one of the latter may be sufficient. It would lighten the ‘gig-load’, too.
3.30 pm: Enough of technology! I wanted to write-up my account of the ‘Beth & Bill’ composition, in readiness for the forthcoming lecture. I continued with the work into the evening.