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Ambient/Post-Rock/Textural bass playing thread

Big day in the JES household.

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"Ambient chaos" is a pretty decent description of my stuff I guess.

I recorded a track Friday and suddenly realized I have an hour of material for the next album. I already had a photo I wanted to use for cover art... now I'm about 2/3 of the way through mastering. If all goes well I'll probably release it Friday.

I bought a used Make Noise Wogglebug. My second one -- I had one in 2018 and kind of underused it, but with what I've learned since then and a change in perspective it might see more action now. I've been thinking about it off and on for a year, finally decided to do it.

Kind of thinking about either a spring reverb or an AtoVproject cDVCA:



But I'm gonna experiment a bit and see if I can get similar-ish results with what I have. Maybe through some trickery I can get one of my VCOs, or something in Bitwig or VCV, to go at high enough frequency and still provide PWM to do this trick. If not, I'm at least gonna play more with AM/tremolo enough to try to convince myself I don't need this one.
 
I have used randomness and chaos in my music, but I wouldn't call what I do chaotic. Some of the noise artists I've seen do really chaotic stuff, up to including straight up dead TV station static. My opinions of it vary from act to act, depending on a long list of things in my head at the moment.

I started a whole thread on that a few years ago.
 
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So this is happening. 8 string headless touch guitar made by Martin Keith. If we are lucky with timing I can pick it up in mid-August in person. I blame @emjazz and @steubig for this beautiful monstrosity. I think I will be going with a sparkle finish. Passive electronics, Nordstrand power blades in a dual reverse-P configuration. And fanned frets.

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So this is happening. 8 string headless touch guitar made by Martin Keith. If we are lucky with timing I can pick it up in mid-August in person. I blame @emjazz and @steubig for this beautiful monstrosity. I think I will be going with a sparkle finish. Passive electronics, Nordstrand power blades in a dual reverse-P configuration. And fanned frets.

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don't blame me, i would've told you to get a fodera . . . :roflmao::roflmao::roflmao::roflmao:.

emjazz is the one with something resembling sense.

please tell me it will be purple metalflake.
 
So, in a fit of what I can only call incredible self-discipline, I was offered an Electro-Harmonix 95000 looper to use on a session last night...and I politely declined. Decided I wouldn't be able to dedicate myself 100% to the music if I was trying to get my head around yet another a new pedal simultaneously.

But it did intrigue me...
I hadn't really paid much attention to the current crop of E-H loopers* since my cursory awareness of them has led me to believe they're optimized for the Build-A-Song-In-Realtime-Live-Via-Sequential-Overdubbing paradigm of looping delays...and since my interest in loopers is more aligned with the Create-A-Crapload-Of-Asynchronous-Cacophony paradigm, I figured these wouldn't have much to offer. But just looking at the features and layout of the 95000 I began to get some ideas of how I could possibly make musically provocative noise with one of those.

Anyone have any direct experience with this looper? @dukeorock I found an old TB thread where you'd just gotten one, still using it?



*I still think the best E-H looper -- and quite possibly the best looping delay ever made -- is their original (circa 1980) 16-Second Digital Delay. Everything else I've seen from them since has been a step away from a pedal that can make musically engaging sounds in an improvisational context.